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<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'>Ah! I’d should have remembered that … kudos to
Maureen Turim. I was struck by the language when I put together subtitles for a
class screening (major credit to Yuki Takinami) and thought I’d made a
“discovery” when I found the same language in Hara Masato’s
tenebrous discussion of Nizan in his “Fukeiron chobo”. Young Hara
mentions the film as an illustration of how Oshima’s generation
doesn’t get Nizan’s foundationless multidimensionality. But I think
Oshima’s use is as ironic as the military songs (not to mention the
“shunka”) in the film. It’s a great example of the intimate
relation of 60’s absolutism to its opposite: the war on alienation seems
as impossible as the war on terror… <o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'><o:p> </o:p></span></p>
<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'>I think that article, by the way, is one of the most important
contributions to the brief flourishing of “landscape theory”
that’s been revived recently. Interesting that Hara finds such
inspiration in Nizan. He disagrees with Matsuda and Adachi, of course, and
explicitly with the idea that fukeiron should be understood as
“diagrammatic” (at least in the ordinary sense). I’m still
not sure what (or whether) fukeiron means: “fukei is the view opened out
by the gaze when it produces an origin within a provisional structure and takes
on that provisional structurality” … but if anyone’s interested
in late 60s cinema it’s probably a good place to look. <o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'><o:p> </o:p></span></p>
<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'>Michael<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'><o:p> </o:p></span></p>
<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'>Michael Raine<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'>Assistant Professor in Japanese Cinema<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'>The University of Chicago<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'>mjraine@uchicago.edu<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'><o:p> </o:p></span></p>
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<p class=MsoNormal><b><span style='font-size:10.0pt;font-family:"Tahoma","sans-serif"'>From:</span></b><span
style='font-size:10.0pt;font-family:"Tahoma","sans-serif"'> Mathieu Capel
[mailto:mathieucapel@gmail.com] <br>
<b>Sent:</b> Wednesday, December 31, 2008 4:49 AM<br>
<b>To:</b> KineJapan@lists.acs.ohio-state.edu<br>
<b>Subject:</b> Re: oshima's nihon shunkako<o:p></o:p></span></p>
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<p class=MsoNormal><o:p> </o:p></p>
<p class=MsoNormal>Dear Kinejapaners,<br>
<br>
Well, I should have checked Maureen Turim's study first, before bothering the
members of this list with that question : in the gunka vs. shunka scene, Otake
sensei actually quotes from Paul Nizan's <i>Aden arabie.<br>
</i>Thanks anyway to Pr. Turim for being such a reliable scholar !<br>
Happy new year once again,<br>
<br>
Mathieu Capel<br>
Paris<o:p></o:p></p>
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